Iluminace - Nejnovější články

Mnohohlas monologů o experimentálním filmuRecenze

Many Monologues about Experimental Film

Kryštof Kočtář

Iluminace 2024, 36(1):181-186 | DOI: 10.58193/ilu.1777  

Recenze knihy: Ksenya Gurshtein – Sonja Simonyi, eds., Experimental Cinemas in State-Socialist Eastern Europe (Amsterdam: Amsterdam University Press, 2022).

Reframing Postsocialist Legacy and ImageryRecenze

Tanya Silverman

Iluminace 2024, 36(1):175-180 | DOI: 10.58193/ilu.1776  

Recenze knihy: Veronika Pehe, Velvet Retro: Postsocialist Nostalgia and the Politics of Heroism in Czech Popular Culture (New York: Berghahn Books, 2020).

Přímá profesionalizace režisérů v animované tvorběČlánky

Direct Professionalisation of Directors in Animation

Tomáš Hubáček

Iluminace 2024, 36(1):93-120 | DOI: 10.58193/ilu.1773  

Tato studie se zaměřuje na pozoruhodný fenomén československého animovaného filmu. V 70. letech 20. století došlo v Československu k unikátnímu spojení dvou odlišných světů – amatérského a animovaného filmu. Amatérští režiséři animovaných filmů mohli přejít přímo k profesionální režii, aniž by získali řádné vysokoškolské filmové vzdělání nebo museli absolvovat předchozí studiovou praxi. Pěti z nich to bylo umožněno na základě předchozích úspěchů na amatérských festivalech a jejich jedinečného výtvarného stylu. Pro tyto účely text definuje pojem "přímá profesionalizace" a vysvětluje její aspekty. Studie sleduje vstup režisérů do profesionální...

Negotiating Organizational Cultures
The Evolution of the VOD Platform Implementation in Czech Public Service TelevisionČlánky

Lukáš Slavík, Klára Smejkal

Iluminace 2024, 36(1):5-28 | DOI: 10.58193/ilu.1775  

In response to the digital transformation and the surge of commercial video-on-demand (VOD) platforms like Netflix, public service media (PSM) face the challenge of adapting while preserving their core values. While current studies predominantly focus on the adaptation process of the Western European PSMs, this research contributes a novel perspective by investigating the case of Central and Eastern European countries, specifically the Czech public service broadcaster Česká televize (Czech Television, CT). The emphasis on the role of the organizational culture within this institution shows the social nature of digital innovation. It complements the...

Sadismus vůči diváctvu filmového díla
Liminální zkušenost a modulace percepce při performanci Náš očistec (Martin Ježek, 2021)Články

Sadism Against the Film Spectator
Liminal Experience and Modulation of Perception in the Performance Our Purgatory (Martin Ježek, 2021)

Kryštof Kočtář

Iluminace 2024, 36(1):29-70 | DOI: 10.58193/ilu.1772  

Někteří filmoví tvůrci si zvolili, že divákům svých děl nezprostředkují příběh, nýbrž přímo zaútočí na jejich smysly. V této studii se budeme zabývat expanded cinema performancí experimentálního filmaře Martina Ježka Náš očistec (2021), která pomocí různých technik usiluje právě o tento typ tělesného a afektivního diváctví. Je určena pro tři projektory a trojici pláten, přičemž se s ní lze setkat pouze ve formě události. Z tohoto důvodu budeme vycházet z textů teatroložky Eriky Fischer-Lichte, která vypracovala koncept estetiky performativity, jenž nabízí vhodný teoretický rámec pro výzkum uměleckých děl v událostní podobě. Nejprve však musíme...

Kritické Dědictví
Exkomunikace a blahořečení prvního porevolučního filmu Věry Chytilové.Články

Critical Inheritance
The Excommunication and Beatification of Věra Chytilová’s First Post-Revolutionary Film

Ondřej Zach

Iluminace 2024, 36(1):71-92 | DOI: 10.58193/ilu.1771  

Na základě částečně autobiografické perspektivy se článek zabývá případem heteronomního kritického hodnocení filmu Dědictví aneb Kurvahošigutentag (Věra Chytilová, 1992) ve světle transformace českého filmového průmyslu v 90. letech 20. století. První postsocialistický film emblematické režisérky československé nové vlny byl zprvu považován za zradu kulturního dědictví, které jeho autorka reprezentovala. V roce 2020 byl však tentýž film českou kritikou označen za třetí nejvýznamnější dílo postsametové éry. Text konstatuje, že rétorické využití téhož kulturního kánonu československé nové vlny použité při estetickém hodnocení téhož filmu v různých...

„The Victims Were Apparently Eaten“ Reflexe japonské estetiky a společnosti 90. let v trilogii Resident Evil (1996–1999)Články

„The Victims Were Apparently Eaten“. Reflections of the Japanese Aesthetics and Society of the 1990s in the Resident Evil Trilogy (1996–1999)

Josef Tichý

Iluminace 2023, 35(3):5-38 | DOI: 10.58193/ilu.1770  

The Japanese video game series Resident Evil is often cited as a prime example of the mukokuseki (“without nationality”) aesthetics due to its setting in the fictional world of the United States. Thus, the principal aim of this article is to explore within the broader context of Japanese culture and society, how the above-mentioned saga reflects a whole range of elements specific to the Japanese environment and even the personal experiences of its creators. The opening quote appropriated from the introductory video sequence of the first title, speaks somewhat pathetically about victims who “were apparently eaten,” thus...

(Více než) kompetentně o nekompetenci. Becky Bartlett, Badfilm: Incompetence, Intention and Failure (Edinburgh: Edinburgh University Press, 2021).Recenze

(More than) Competently about Incompetence. Becky Bartlett, Badfilm: Incompetence, Intention and Failure (Edinburgh: Edinburgh University Press, 2021).

Jan Bergl

Iluminace 2023, 35(3):159-164 | DOI: 10.58193/ilu.1769  

Recenze knihy Becky Bartlett o takzvaných "špatných filmech".

Chůze velrybou: imerzní výstavní design jako forma muzejní komunikaceČlánky

Walking Through the Whale: Immersive Exhibition Design As a Form of Museum Communication

Ondřej Táborský

Iluminace 2023, 35(3):39-58 | DOI: 10.58193/ilu.1768  

In recent years, visiting certain types of museums has become much more of an experience anchored in the mediality of the space. In a situation of gradual decline of the reach of traditional audiovisual media such as television or cinema, the museum appears as another significant platform for viewership. This shift is greatly aided by the popularity of immersive exhibition tools. The transfer of communication from objects (touchable or contextual) and dioramas to immersiveness increases the importance of bodily and emotional experience but also brings great challenges for some types of cultural organizations focused on the interpretation of history....

Nation-building Across Media. Lumière films’ intervention in the Hungarian visual sphereČlánky

Izabella Füzi

Iluminace 2023, 35(3):135-158 | DOI: 10.58193/ilu.1767  

One of the major mediatized political events in Hungary was the procession organized on 8 June, 1896 as part of the Hungarian millennial celebrations intended to express national progress, pride and unity. Captured by professional and amateur photographs, represented in drawings, paintings, a cyclorama, as well as actuality films recorded by the Lumière travelling operators, the political event of the procession reached a much larger audience than the actual public present. The article aims to show the differences between the staged event of the procession intended to bolster the image of a unified nation and its visual mediation ‒ for example...

Animovaný film a pochybnosti kozmického veku. O skepticizme vo filmoch Václava Mergla: Laokoon, Krabi a HomunkulusČlánky

Animated Film and the Doubts of the Space Age. About Scepticism in Václav Mergl’s films: Laokoon, Crabs and Homunculus

Veronika Liptáková

Iluminace 2023, 35(3):103-134 | DOI: 10.58193/ilu.1766  

This article primarily focuses on Václav Mergl's sci-fi films Laokoon, Crabs and Homunculus. With the help of theoretical frameworks of technological skepticism (or skepticism of the so-called Space Age), it interprets these movies, whereas significantly working with the considerations of Hannah Arendt, presented in her text “The Conquest of Space and the Stature of Man”. Since Václav Mergl takes his works to the level of relatively complex philosophical ideas, which he often expresses through images, this article also takes into account his independent artworks. However, it observes the artist's creative processes primarily in his films....

Decentralizace v české zestátněné kinematografii 1957–1962: Projev kulturní liberalizace, nebo snaha o zefektivnění práce?Články

Decentralization in the Czech Nationalized Cinema 1957–1962: A Consequence of Cultural Liberalization or Effort to Work More Effectively?

Marek Danko, Petr Hasan, Lucie Hurtová

Iluminace 2023, 35(3):59-102 | DOI: 10.58193/ilu.1765  

This study deals with decentralization processes in the nationalized Czechoslovak cinematography, which took place in the second half of the 1950´s and the first half of the 1960´s. It contextualizes these organizational changes within the historical and political-cultural developments in Czechoslovakia and approaches them from two main perspectives: from the point of view of changes right in the top management of the Czechoslovak cinematography and in other organizational parts of the Czechoslovak Film and from the point of view of changes in the relationship between this film management and the superior Ministry of Education and Culture. The role...

(Eco)Traumatic Landscapes in Contemporary Audiovisual CultureEditorial

(Eco)Traumatic Landscapes in Contemporary Audiovisual Culture

Bori Máté

Iluminace 2023, 35(2):5-8 | DOI: 10.58193/ilu.1764  

Editorial tematického čísla.

Oldřich Nový vlastně nikdy neodcházelRecenze

Oldřich Nový Never Actually Left

Valerie Coufalová

Iluminace 2023, 35(2):113-118 | DOI: 10.58193/ilu.1763  

Recenze monografie Šárky Gmiterkové: ON: Kristian v montérkách (Praha: Národní filmový archiv, 2022).

Cesty za Cestou do pravěkuRecenze

Journeys to the Journey to the Beginning of Time

Jakub Egermajer

Iluminace 2023, 35(2):119-124 | DOI: 10.58193/ilu.1762  

Recenze kolektivní monografie Lukáš Skupa (ed.): Cesta do pravěku. Dobrodružná věda (Academia – Casablanca, 2023).

Becoming-Grains of Mercury: Documentary Ecologies, Posthumanism, and the Entanglements of TraumasČlánky k tématu

Erica Biolchini

Iluminace 2023, 35(2):51-71 | DOI: 10.58193/ilu.1759  

Félix Guattari, in his ecosophical work The Three Ecologies, urges us to contemplate and, most importantly, to live transversally with the entangled ecologies of nature and culture/society. Specifically, he states that “it is simply wrong to regard action on the psyche, the socius, and the environment as separate;” particularly, he adds, when it comes to the “simultaneous degradation of the three areas.” Guattari’s transversal process is more accurate than ever if we consider how human activity, in the context of the current geological epoch — the Anthropocene — has sent the Earth’s natural ecosystems...

‘Traumatomic’ Encounters. Trauma through Radioactivity in Photofilmic ’Experimental Documents’ of ChernobylČlánky k tématu

Beja Margitházi

Iluminace 2023, 35(2):95-112 | DOI: 10.58193/ilu.1760  

Nuclear trauma has always resisted verbal and visual portrayal, calling for various alternative, form-breaking methods. This article discusses three artistic works which I consider “experimental documents” because of their various photographic and filmic practices of intimately approaching the radioactive contamination still present in the Chernobyl Exclusion Zone. The site-related projects of Alice Miceli (Chernobyl Project, 2006–2010), Lina Selander (Lenin’s Lamp Glows in the Peasant’s Hut, 2011), and Daniel McIntyre (Lion series, 2011–2014) go beyond the journalistic representations of the...

The Rhythms of More-than-human Matter in Azucena Losana’s Eco-developed Film Series MetarretratosČlánky k tématu

The Rhythms of More-than-human Matter in Azucena Losana’s Eco-developed Film Series Metarretratos

Salomé Lopes Coelho

Iluminace 2023, 35(2):31-49 | DOI: 10.58193/ilu.1758  

This essay explores the eco-developing project Metarretratos by Mexican filmmaker Azucena Losana, addressing it in the context of a set of cinematic gestures concerned with the environmental impact of film. Focusing particularly on the film Ceibo/Erythrina crista-galli, the article argues that the series contributes to the three main axes that characterize academic debates about film and environmental concerns: a) with regard to cinematographic modes of production, b) concerning the thematization of the more-than-human and its relationships with humans and the environment, and c) with reference to the understanding of images as matter...

Traumatic Landscapes from Above: Images of Colonization and Violence in the Sea of PlasticČlánky k tématu

Traumatic Landscapes from Above: Images of Colonization and Violence in the Sea of Plastic

Miguel Fernández Labayen, Loreto García Saiz

Iluminace 2023, 35(2):9-30 | DOI: 10.58193/ilu.1755  

The so-called “Sea of Plastic” in Almeria (southern Spain) is the largest concentration of plastic greenhouses in the world. Because of its monumentalism and “accidental aesthetics” (Davis, 2015), this geographic region has been extensively depicted from above by aircrafts, satellites, and drones from the 1950s to the present. The purpose of this paper is threefold: first, it offers a historical account of these images from above (from the ones obtained during the Francoist period for geopolitical purposes to those taken by local farmers today) in order to understand its colonial condition and legacy; second, it explores the...

Diffractive Way of Thinking and the Possibilities of Capturing Ecological Trauma in Tomonari Nishikawa’s sound of a million insects, light of a thousand stars (2014)Články k tématu

Diffractive Way of Thinking and the Possibilities of Capturing Ecological Trauma in Tomonari Nishikawa’s sound of a million insects, light of a thousand stars (2014)

Bori Máté

Iluminace 2023, 35(2):73-94 | DOI: 10.58193/ilu.1761  

sound of a million insects, light of a thousand stars (2014) is a camera-less two-minute-long film directed by the Japanese experimental filmmaker Tomonari Nishikawa. He buried a 100-foot-long 35mm negative film under fallen leaves alongside a country road close to the Fukushima Daiichi Nuclear Power Station where it was exposed to the possible remains of radioactive materials. The film is a document of an intrusive past. It becomes an (eco) traumatic landscape and a local manifestation of a hyperobject called radiation. This article will employ the concept of diffraction as a new materialist concept whose qualities are quite underexplored in...

Skrze ambiguitu zachránit celek Jan Bierhanzl, Estetika ambiguity (Praha: Nakladatelství Karolinum, 2021).Recenze

To Save the Whole through Ambiguity

Benjamin Slavík

Iluminace 2023, 35(1):110-117 | DOI: 10.58193/ilu.1753  

Recenze na knihu Jana Bierhanzla Estetika ambiguity (2022).

Fenomén Krumbachová: Strůjkyně filmových obrazůRecenze

Ester Krumbachová's Phenomenon: Creator of Film Images

Jiří Voráč

Iluminace 2023, 35(1):103-109 | DOI: 10.58193/ilu.1751  

Recenze knih a výstavních projektů o Ester Krumbachové.

Ghosts On and Off Screen. An Interview with Helen WheatleyRozhovory

Klára Feikusová

Iluminace 2023, 35(1):91-102 | DOI: 10.58193/ilu.1750  

In the interview, Professor Helen Wheatley discusses her past and current research with an emphasis on her forthcoming book, Television/Death, and  research project Ghost Town: Civic Television and the Haunting of Coventry.

Pandemic Television
Television Industries in the midst of COVID-19Editorial

Jana Jedličková

Iluminace 2023, 35(1):5-6 | DOI: 10.58193/ilu.1754  

Editorial zvláštního čísla věnovaného vlivu pandemie covid-19 na televizní průmysl.

Framing pandemic news. Empirical research on Covid-19 representation in the Italian TV newsČlánky k tématu

Andrea Miconi, Simona Pezzano, Elisabetta Risi

Iluminace 2023, 35(1):65-90 | DOI: 10.58193/ilu.1752  

The article contributes to the vast literature on the media representation of Covid-19, by exposing the results of a quantitative and qualitative analysis of Covid-19 media coverage in Italy, run on the full archive of prime-time TV news – Tg1, Tg2, Tg3, Tg4, Tg5, Studio Aperto, Tg La7 – between February 28, 2020, and February 27, 2021. All verbal contents of TV news have been analyzed, based on a sample of 2,555 news shows and 14,304 news stories related to the epidemic, for a total of 1.6 million words. By applying the media framing models, we realized a two-step work: a mapping of TV coverage across one year; and an in-depth investigation...

Fictionalizing the COVID-19 pandemic “instantly”. A case study of the German comedy drama Drinnen – Im Internet sind alle gleich

Florian Krauß

Iluminace 2023, 35(1):7-26 | DOI: 10.58193/ilu.1749  

Based on interviews with production members and trade magazine articles, the paper discusses how the German comedy drama Drinnen – Im Internet sind alle gleich (2020) dealt with COVID-19 in its production. The series—whose title translates to “Inside – On the Internet All Are Equal”—is obviously about the pandemic: it tells the story of Charlotte, who is planning to quit her job and leave her marriage when she suddenly has to self-isolate and communicate with others only online. Not only Charlotte’s fictional life but also the show’s real-life production was very much affected by the COVID-19 pandemic....

Spanish TV Fiction in Times of Pandemic. Nuclear and Transversal Stories About COVID-19Články k tématu

Tatiana Hidalgo-Marí, Patricia Palomares-Sánchez

Iluminace 2023, 35(1):27-42 | DOI: 10.58193/ilu.1748  

2020 marked an unprecedented change in the world population, social relationships, and cultural consumption itself. The outbreak of COVID-19 not only distanced people, families, and countries but also had many consequences on how we relate to each other. In this context, television was one of the sources of communication, entertainment, and bonding that resonated the most in times of crisis. This research aims to provide an in-depth study of the Spanish TV and VOD series born in the context of the pandemic to show how the discourse of COVID-19 has gone through the ways of consumption and entertainment and also through the fictional narratives....

#QuedateEnCasa:
How did the Argentine and Spanish TV Industries React to the Outbreak of the Covid Pandemic in 2020?Články k tématu

Concepción Cascajosa Virino, Pablo Mendez Shiff

Iluminace 2023, 35(1):43-64 | DOI: 10.58193/ilu.1747  

In March 2020, when the coronavirus pandemic hit the world, television industries had to rapidly adapt to the circumstances. While a substantial number of people were able to spend more time in front of their TVs, the executives had to make choices: should they tell stories about what was going on or should they try to create escapism? This article compares the responses given to these challenging times by the Argentine and Spanish television industries. Whereas both countries have long-standing cultural and economic ties, they were different in the length of their respective lockdowns, and this had an impact on the televisual answer to the crisis....